Brunelleschi couldn't sculpt,
So he made three buildings with domes.
While Ghiberti made more bronze reliefs
For church doors, not for homes.
Donatello was a sculptor,
Not a Ninja Turtle.
His figures were Classical,
And jumped the contrapposto hurdle.
Nanni di Banco just made one,
Four statues that converse.
Fabriano's Adoration
Was Renaissance in reverse.
Masaccio brought these ideals back,
He drew from life and in math didn't lack.
His figures had weight because of light
He used chiaroscuro, which is darks versus lights.
Bartalommeo built a palazzo,
It's facade had rhythm and 3 stories.
He borrowed ideas like collonades
From Brunelleschi's glory.
The Medicis paid him,
They paid Ucello, too.
So he used grid perpective,
Stuck in oranges, the shrew.
Verrocchio got commissions
Like Donatello, how rude!
His David and equestrian
Had more muscle and attitude.
Pallaiulo had engraving and sculpture,
His bodies twisted, muscles tensed.
Botticelli had frontal pictures,
Unrealistic, poetic, outlines dense.
Ghirlandaio's portrait
Showed its subject's money,
His biblical drama
Had his patrons, how funny.
Alberti's buildings borrowed from Rome,
Colisseum, triumphal arch, and using math
He made buildings with harmony
That had a steady path.
Castagno's Last Supper set the standard,
Focal Christ, illusionistic space,
Fillipo Lippi used line and personality,
But was unrealistic and had Lester's face!
Perugino's perspective was unmatched,
Though Mantegna's perspective was also a catch,
In Palazzo Ducale,
He mimicked the Second St...ale...style...
Under Urbino painted Francesce,
Who used architecture to tell space.
And finally, the twisting chaos
That was Signorelli's hellish place!
Let me tell you... this took a friggin' WHILE. ...Now for Chapter 22.